Music of Alan Belkin; online courses by Alan Belkin. Veja grátis o arquivo Alan Belkin Principles of Counterpoint enviado para a disciplina de Fundamentos de Contraponto Categoria: Outros – I am a composer and a teacher with many years experience. I taught composition , harmony, orchestration and counterpoint for thirty years at the Université de.
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Most approaches limit themselves more or less closely to one style, and make some attempt at graduated exercises, often derived from the species method blekin Fux. The only major exception to this rule is the appogiatura approached by leap ; however in this case the leap to the dissonance is used as a motive. The main problem with scholastic approaches is that they often substitute rigid rules for flexible general coounterpoint, and thus fail to provide guidance in enough varied musical situations to be useful in practice.
Perhaps more than any other musical discipline, counterpoint has bred ingrown academic traditions whose relevance to musical practice often seems painfully limited.
Counterpoint – Harmony | Alan Belkin Music
I am looking for a volunteer to translate this book into German. Then, the last beat of the bar has no 3rd. Preface Introduction The teaching of counterpoint has a long and illustrious history, but its pedagogy aoan all too often abstracted from counterplint reality. We will not repeat, in detail, information easily available elsewhere. Such discussions help the student refine his hearing and better predict how specific musical situations will be perceived; whereas blanket prohibitions do not encourage aural sensitivity.
However, they are not really very disturbing to the ear, because the notes in question are not accented, not on corresponding beats, and the motives in the two bars do not correspond. In fact, third species counterpoint corresponds almost exactly to the ancient tradition of “differencias”, wherein the student systematically explores all possible ways of filling.
Also, we will not propose a detailed method, complete with exercises, although the specifics of such a method are easily derived aoan our approach, and indeed have been tested in the classroom for years.
Alan Belkin is creating another online course: Analysis for Composers | Patreon
Put another way, music, no matter how dense, alaj understood by one brain at a time. We will approach counterpoint as a form of training in musical composition instead of as a discipline unto itself.
This is what this course will explore. In the first example, the similar motion between soprano and bass creates a strong accent on the tritone in bar alaan.
Principles of Counterpoint
The other volumes are Orchestration and Harmony. The overall effect counterpojnt distracting, creating an inappropriate accent. We will only look at aspects of harmonic design that specifically relate to contrapuntal textures. As will be seen later, this countrrpoint the main use for invertible counterpoint at the tenth: The purpose of the proposed course is to explore various pieces from the standard repertoire from the point of view of a composer.
In the first volume, A Practical Guide to Musical Composition, we discussed principles of musical form independently of style and conventional “forms”. Pitch and rhythm are certainly very important, but they are not always the main factors behind the music’s expressive effect.
Leaps are normally made to and from chord tones; when there are several in a row, they are heard as outlining chords. Compare the direct octave into the 1st beat, 2nd bar in the first example, which is rather prominent, since all the parts move in the same direction, with that in the second, where the suspension in the middle part creates a counterbalancing richness, and distracts the ear from the outer counterpoiint.
This is an area where the standard species approach fails pitifully.
Real world uses of counterpoint. Particularly with accented dissonances, the underlying harmony can easily be obscured.
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What were the alternative solutions? At best, of course, an inspiring teacher can fill in the gaps and make the subject seem relevant.
Alan Belkin Principles of Counterpoint
The former are general principles, which cannot be avoided if the music is to be performable at all; the latter are, by nature, provisional rules of thumb designed to avoid common elementary problems, or to force the student to concentrate on a particular problem and to avoid others that might be confusing. In most species approaches, the octaves created between the C in the first bar of the above example and the D in the second measure would be prohibited as being rhythmically too close.
Conversely, richness can be enhanced by: This is especially flagrant when countfrpoint leap. The composer has to decide all of these things when composing.